Flex's Takes: The Beach Boys

[Flex]

I find it sorta like how I continue to listen to Weezer. I can still find traces of what I love from those first two albums in all their work. Sometimes the traces are bigger than others.

Those are skid marks, Andrew

[matedog]

I find it sorta like how I continue to listen to Weezer. I can still find traces of what I love from those first two albums in all their work. Sometimes the traces are bigger than others.

Those are skid marks, Andrew

[Dr. Medulla]

Tangentially, I think this is part of why fans of the band tend to even love the stuff that's pretty shit, because it's as much about loving Brian and the rest as anything, and you can still do that even with the crap records.

This actually makes sense to me why there is love for a period that I just can't understand.

My philosophy for their worst periods is "hey, but it's still the Beach Boys" and that allows me to at least find something decent.

I can never do that, even with artists I love. Shit is shit and I have a hard time rationalizing it.

I think there's a big difference between creative people (or at least people whose creativity you vibe with) making bad music and bland morons making bad music. I'll spend time finding interesting stuff in a bad beach boys period because there's stuff to find, but I don't think there's anything of creative value in a Nickelback album (for example). It's why there's stuff to sift through and enjoy even in low periods of the clash/Joe strummer/mick Jones' creativity, at least to me.

I'd also make a distinction, not that you're suggesting otherwise but just for the record, between appreciating the good within the bad and pretending the bad is actually good. It's the difference between finding something of value in cut the crap and actually thinking it's a good record.

As an example for me, there are several Wire records that are just lousy to me. I've tried to find something decent in them, but nope. Good artist makes bad album and I can't be bothered to find little bits that are okay. I can accept criticism that I'm being too narrow or absolute, but it feels like the CtC slippery slope where people convince themselves that it could be a good record.

[Flex]

This actually makes sense to me why there is love for a period that I just can't understand.

My philosophy for their worst periods is "hey, but it's still the Beach Boys" and that allows me to at least find something decent.

I can never do that, even with artists I love. Shit is shit and I have a hard time rationalizing it.

I think there's a big difference between creative people (or at least people whose creativity you vibe with) making bad music and bland morons making bad music. I'll spend time finding interesting stuff in a bad beach boys period because there's stuff to find, but I don't think there's anything of creative value in a Nickelback album (for example). It's why there's stuff to sift through and enjoy even in low periods of the clash/Joe strummer/mick Jones' creativity, at least to me.

I'd also make a distinction, not that you're suggesting otherwise but just for the record, between appreciating the good within the bad and pretending the bad is actually good. It's the difference between finding something of value in cut the crap and actually thinking it's a good record.

As an example for me, there are several Wire records that are just lousy to me. I've tried to find something decent in them, but nope. Good artist makes bad album and I can't be bothered to find little bits that are okay. I can accept criticism that I'm being too narrow or absolute, but it feels like the CtC slippery slope where people convince themselves that it could be a good record.

There's some pretty shit stuff that Bob Dylan has put out that I find basically irredeemable (and, as has been getting cataloged here, some real shit beach boys stuff too) so I think there's limits to the reclamation process. But, yeah, I guess I just like being able to find things to enjoy from even the kinda crappy stuff the artists I most love and have affection for put out. I don't bother doing this with most artists, mind.

[WestwayKid]

Tangentially, I think this is part of why fans of the band tend to even love the stuff that's pretty shit, because it's as much about loving Brian and the rest as anything, and you can still do that even with the crap records.

This actually makes sense to me why there is love for a period that I just can't understand.

My philosophy for their worst periods is "hey, but it's still the Beach Boys" and that allows me to at least find something decent.

I can never do that, even with artists I love. Shit is shit and I have a hard time rationalizing it.

I think there's a big difference between creative people (or at least people whose creativity you vibe with) making bad music and bland morons making bad music. I'll spend time finding interesting stuff in a bad beach boys period because there's stuff to find, but I don't think there's anything of creative value in a Nickelback album (for example). It's why there's stuff to sift through and enjoy even in low periods of the clash/Joe strummer/mick Jones' creativity, at least to me.

I'd also make a distinction, not that you're suggesting otherwise but just for the record, between appreciating the good within the bad and pretending the bad is actually good. It's the difference between finding something of value in cut the crap and actually thinking it's a good record.

Even with their worst releases (Keepin' the Summer Alive comes to mind) I can find something of value.

[Dr. Medulla]

How much of a completist are y'all?

[Flex]

How much of a completist are y'all?

I've heard it, it's fine. Easy listening muzak, basically.

[Dr. Medulla]

How much of a completist are y'all?

I've heard it, it's fine. Easy listening muzak, basically.

Better or worse than "Kokomo"?

[revbob]

How much of a completist are y'all?

I've heard it, it's fine. Easy listening muzak, basically.

In what world is this fine?

Fatherhood must be turning you into some kind of SRP. You'll be beat up at the SLAPSHOT gig for sure.

[WestwayKid]

How much of a completist are y'all?

Pure schmaltz. Capitol let him do it so he'd quit bothering them about Beach Boys stuff.

[matedog]

How much of a completist are y'all?

I've heard it, it's fine. Easy listening muzak, basically.

But the cover has hot sexy 60s babes on it. And it has the word "moods" in it. The cover just oozes sex. Except for the inclusion of "Murry Wilson."

[Flex]

How much of a completist are y'all?

I've heard it, it's fine. Easy listening muzak, basically.

In what world is this fine?

Fatherhood must be turning you into some kind of SRP. You'll be beat up at the SLAPSHOT gig for sure.

I find that sort of music kinda funny. Just totally white and sexless. A weird artifact from a different time.

[WestwayKid]

Speaking of Murry, there is this lost classic - cowritten by Brian and his dad and recorded early on during the Sunflower sessions.

Murry's is credited using the pseudonym Reggie Dunbar. Not sure why.

It's a catchy song, but only hit #63 when released as a single in 1969. It was also their final Capitol single until 1986.

[matedog]

Speaking of Murry, there is this lost classic - cowritten by Brian and his dad and recorded early on during the Sunflower sessions.

Murry's is credited using the pseudonym Reggie Dunbar. Not sure why.

It's a catchy song, but only hit #63 when released as a single in 1969. It was also their final Capitol single until 1986.

Went to #6 in the UK. I had never heard of this song until I read about it in the Carl bio. I think it's alright/pretty good. Not really a lost gem for me.

Also from the comp, I dig this alt version of Big Sur -


I very much prefer it to the awkward 3/4 rhythm on Holland.

[WestwayKid]

Speaking of Murry, there is this lost classic - cowritten by Brian and his dad and recorded early on during the Sunflower sessions.

Murry's is credited using the pseudonym Reggie Dunbar. Not sure why.

It's a catchy song, but only hit #63 when released as a single in 1969. It was also their final Capitol single until 1986.

Went to #6 in the UK. I had never heard of this song until I read about it in the Carl bio. I think it's alright/pretty good. Not really a lost gem for me.

Also from the comp, I dig this alt version of Big Sur -

I very much prefer it to the awkward 3/4 rhythm on Holland.

Agree on Big Sur. It's a nice example of Mike doing something decent.